WIP Portrait critique
3yr
Mattias Wirf
Hi! I would welcome some critique on this work in progress. Sorry about the glare, but I can't get back to get a new photo of it today. This is just an exercise, and the reference is a photo I bought from the model on Instagram. Now, the mouth and nose is not finished. Also, my thought is to go over the image with more details or one more layer. I think she looks a bit light on the lit part of the face. Also, I think the skintones could use more diversity between cool and warm. It is painted with a palette of titanium white, yellow ochre, burnt sienna, ultramarin. Later I added burnt umber and a touch of cadmium red for the lips.
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Mattias Wirf
So one can't edit the original post? I have some additional notes ;) First, a blurred version of the reference at Beatrice instagram, https://www.instagram.com/p/CHXuzcynOsJ/ Second, this is my first oilpainting for 20 years, whohoo! ;) (I've done other stuff in between) Some of the oilcolours I'm using has been with me since the 90's. They were.... sticky.
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Joël Gruben
Hi Mattias! I really enjoy your classical painting! You can really feel the light finding its way around the figure! I've done a quick overpainting of your WIP to better demonstrate my suggestions which are along the lines of the other commentators: - I think your idea was to simplify or "drown" the shadow side of the figure into one shape. That is very akin to comic books (like Hellboy) or the painter Rembrandt (or any representative of "Chiaroscuro"). But I think even with this stylized choice, the figure and its readability would benefit from a little bit of bounce light or "rim light" along the shadow side. I've done that in the overpainting along the jawline, the arm and the sloping back. - As already suggested, utilize the "sub-surface scattering" to illuminate and vitalize the skin. Otherwise it will look like clay. I've attached a portrait painting by Rembrandt which has a similar feel to your painting. Observe how Rembrandt uses very saturated, deep red colors around the nostrils, the cheeks, lips and chin to make the girl look alive. I've applied these principles to the overpainting. - Regarding your statement that the light side of the face is overlit: That is more a question of personal taste. You can compare classical paintings by Rembrandt, Van Rubens or Velasques (deep shadows, highly contrasted with bright highlights (see "impasto")) to impressionistic paintings by Van Gogh, John Singer Sargent or Claude Monet (high dynamic range, low contrast, "alla prima"). Personally, I like the bright light as is, but you can make small studies in different styles to see what fits best to you. - As already mentioned, there are some proportional issues in your painting. I tried my best to fix them but I would suggest to you observe your reference to your image or even overlay them in photoshop to see the proportional misalignments more clearly. Keep up the great work! Joël
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Mattias Wirf
Yes, I usually go for chiaroscuro (I used to look a lot at both the impressionists and Caravaggio when I was younger), but in this case I kind of got it in the reference already :) https://www.instagram.com/p/CHXuzcynOsJ/ (all though I have zoomed in a bit in my composition). Regarding the proportions of the body, I think the both sides should come in just a little bit. She is turned more to the side to the camera, and the edges on both sides/arms has drifted out a bit to far in my painting. It's interesting pose, but I guess that is what intrigued me. Good suggestions, Joël, I will have them in my thoughts as I continue :) Thank you
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Gabriel Kahn
Hey there! I love your painting! One thing that could really help to make the skin more realistic is if you used some deep, saturated color on the edges of hard light. That's subsurface scattering, which happens when light hits through the skin, and it frequently occurs on the edges of planes that were hit by direct light. My other tip would be a bit more practical :) If you are photographing your paintings make sure to use some diffused neutral light, because otherwise, your darks will be shining, which kind of ruins the piece. To do that easily, put a plastic bag on a flashlight and use that to light the painting. If it's still too shiny, use a second light source on the other side to balance it out. Hope I could help! Keep up the great work! :)
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Mattias Wirf
Thank you :) Great suggestion with the colour. Yes, I actually have soft boxes, ledlights, DSLR and C-stands and stuff for filming my drawing, but they are not in my studio. At the moment I draw at home and paint on the other side of town ;) So this is a snapped with my phone during a 30-second visit in the studio while my daughter waited in the car outside. It might not be the most practical arrangement in the world, lol
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3yr
Hej Mattias, I think you did a great job. I love the mood and the pose. The hairs are great and her expression is excellent! I'm more a draftsman and (learing) digital painter. So I hope, I can give you some helpful feedbacks. Yes, definitly more cold colors would be great. Overall it looks to warm and brownish. Maybe she needs some redtones , so she get more alive. Her shoulder in the foreground looks weird. Her left cheekbone is "not there" and the areas under her eyebrow needs more volume. I did a paintover with some notes. So I can give you better feedback. I'm looking forward to your finished painting ;) Thomas
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Mattias Wirf
Thank you :) I agree with some of the stuff in the face, good suggestions. It might also be a consequence of that I have not painted the shadow on the mouth and nose fully yet, so they look to much of a contrast to the cheek. On the right lower corner / her back I disagree though, it looks cut off. I think we both went to far, but in different directions ;) I think I need to find somewhere in the middle. You can see a blurred version of the referencephoto on her instagram: https://www.instagram.com/p/CHXuzcynOsJ/ I can recommend her images by the way.
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